Schubert’s
string quartet (no. 14) in D minor D810, also known as ‘Death and the Maiden’,
was written in 1824 when Schubert had just been hospitalised with syphilis. As
one of his last three string quartets ever written Schubert must have been
feeling his mortality – and it is his struggle with impending death which fills
this poignant piece.

The name ‘Death and the Maiden’ comes from the song which
Schubert wrote seven years earlier, based on a poem by Matthias Claudius. This
tune forms the basis of the second movement, and is the theme borrowed by Crumb
in Black Angels.

From the start the Brodsky were dramatic and powerful. The
violinists (Daniel Rowland and Ian Belton) and Paul Cassidy on viola stood up
throughout, allowing them freedom of movement and adding to performance
immensely. The cellist Jacqueline Thomas was raised in splendour on a dais so
that she was at the same level. Extreme
contrasts in dynamic emphasised the different moods of pride and sweetness between
sections in first movement. Embellishments were delicately placed, with perfect
balance between the instruments, bringing forward the compositional complexity
provided by Schubert which can often get lost.

The beginning of the second lachrymose movement was achingly
beautiful. The second theme was all pastoral, flowers and innocence, but with
an undertone indicating that all is about to be destroyed. Describing this Paul
Cassidy said, “The failing heartbeat which transports one from earthly worries
and woes to heavenly contentment is heart-breaking” – and the quartet certainly
conveyed it.

The third movement was, again, passionately played, with
perfectly placed contrasts between moods in the scherzo and trio. The final
tarantella was masterful, always just on the edge of running away, and
absolutely the best performance I have ever heard. Brodsky – you have done the impossible
and persuaded me that Death and the Maiden is a fantastic piece!

During
the interval I chose to stay and watch the stage being set up for Black Angels.
The curtains round the top section of the hall were closed, stands for
percussion (and glasses) and the electronics rigged. After a brief check that
everything was to hand and there was enough space to play while still being
able to reach everything the quartet was ready to go.

George Crumb

George Crumb is an American composer interested in extended
techniques and new sounds. He first studied music at Mason College of Music in
Charleston, then University of Illinois at Urbana-Champaign, and after a brief
sojourn with Boris Blacher at the Hochschule für Musik, Berlin, he returned to America
to study at the University of Michigan. During the 1960’s and 70’s he wrote
primarily for voice and ensembles, many pieces based on the poetry of Federico
Garcia Lorca, including Ancient Voices of Children (1970), Madrigals (1965,69),
Night of the Four Moons (1969), and Songs, Drones and Refrains of
Death (1968). Black Angels (1970), like other ensemble pieces, uses
amplified instruments and unusual effects to bring a new direction not only to
his own composition but to music at the time.

Black Angels is one of my favourite pieces – and (again) the
Brodsky did not disappoint. I could have been happy with a little more
amplification in the loud sections - but perhaps I have been listening to too
many recordings with the volume turned up. I was also surprised that all the
sound appeared to come from the front because Hall One in Kings Place has
speakers along its length. However there may be a reason for this that is part
of the composition.

This performance by Brodsky highlighted the similarities
between Black Angels and the Schubert. Even at the start alternate dynamics define
different moods, with the instrumental scream pitted against the dry desert of
sounds of Bones and Flutes. The effects possible with electric instruments were
seamless in execution.

Seeing Black Angels live always brings home the
compositional detail which has gone into it. Similarly to the Schubert, little
threads of sounds get passed between performers – including the crawling
insects, reptilian maracas, and creepy bowed gongs. In the second movement the
borrowed themes are brought forward, matching Schubert’s plan.

God music and Ancient Voices are entirely new. Playing with
water filled glasses brings an unearthly timbre to the horror – but no respite.
Eventually the Electric Insects crawl in, although they too do not stay, and
after a brief return to ideas in the first movement the piece fades away.

Never afraid to use dynamics the Brodsky’s approach made
Black Angels a deeply moving experience and pushes the contrasts beyond the
sweetness and pride of Death and the Maiden, to a chilling edge of madness
where God and the devil fight for souls.